Documents found
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153.More information
Today music presented to young audiences is multifarious in its approaches, in its sonorities and in the messages that it is trying to send. In turn didactic, expressive, or emotive, it varies enormously in its form, content and presentation. Some of the composers of Quebec most active in this field, including Denis Gougeon, Yves Daoust, Ana Sokolovic, Isabelle Panneton et Zack Settel, as well as John Estacio (Canada), Julian Wachner (USA), Isabelle Aboulker and Coralie Fayolle (France), are leading lights in this musical genre that is constantly evolving. They recall the reasons that motivated them to write for the young, the challenges of the genre, the choice of texts that inspire them, the musical language adopted, the proliferation of multimedia, the range of shows and the future of the genre.
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154.More information
Taking stock critically of her career on the occasion of her induction into the Royal Society of Canada, the founder of the Nouvel Ensemble Moderne offers an emotional and vibrant plea in favour of the defense and the dissemination of contemporary music.
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155.More information
An institution of higher learning for music, the Conservatoire de Paris (cnsmdp) recently added mediation into performers and musicologists' training. After exploring the institutional framework in which this discipline was introduced and after retracing the history of the beginnings of mediation at cnsmdp, this article questions the resistance encountered by music mediation within the institution.
Keywords: Conservatoire de Paris, élitisme, enseignement, histoire, médiation de la musique, Conservatoire de Paris, education, elitism, history, music mediation
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156.More information
AbstractThis historical chronology shows the accomplishments of Nil Parent, the founder of the first French-speaking electroacoustic music studio in Canada, as well as the first francophone electronic music ensemble. Between 1985 and 1990, this prolific composer, professor in the Faculty of Music at Laval University in Quebec City, succeeded in producing a new synthesizer, with the help of two technicians.
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157.More information
In the context of the history of critique and, more broadly, that of the musical discourse, this article looks at Jacques Rivière's early writings on Debussy's music, viewed here as illustrating the evolution of music critique at the turn of the 20th century. Starting with the argument that Rivière, a student of 19th C. rhetorical conventions, draws on his knowledge of symbolist literature as a springboard to Debussy's music, this article reveals how the writer matches his words to the composer's aesthetics. In so doing, Rivière not only adapts his discourse — devoting himself — to its topic, he also frees himself from the dialectics of impressionist or technical critique by turning his text into an “as-heard” account. Music critique thus takes on the added role of buffer between concertgoers and readers of La NRF, altering discursive modalities in the process. However, as with everything Rivière, these must be infused with the one prerequisite to aesthetical acceptance: love.
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158.More information
This article traces the evolution of the role of music education in primary and secondary school music programs in Quebec's French public schools. Teaching music, optional from 1904 to 1936, when it consisted essentially of teaching songs by ear, became compulsory between 1937 and 1980. Although it often consisted of learning theory and music appreciation, active teaching methods were gradually introduced. Since 1981, music has been an option among the arts disciplines (dance, drama, visual arts, and music). While singing is still taught, especially in primary school, teaching music now involves experimenting with playing instruments in a group setting, and places greater emphasis on student creativity. Some of the reasons for teaching music have not survived the decades, such as facilitating the acquisition of religious and patriotic values. By contrast, others are still relevant, such as child development and pleasure.
Keywords: programmes d'études, système scolaire québécois, écoles publiques francophones, enseignement de la musique, histoire, curriculum, Quebec school system, French public schools, music education, history